Dans la seconde moitié du me siècle britannique, le nombre de textes traitant des rapports entre l'esprit et le corps est particulièrement conséquent. Cette époque est caractérisée par la formulation de la théorie de l'évolution de Darwin, par l'émergence des sciences du cerveau, et par une lutte pour l'autorité intellectuelle entre les élites traditionnelles et certains hommes de science. Le problème des rapports de l'esprit et du corps constitue à nos yeux une nouvelle porte d'entrée dans les débats de cette (...) époque et nous a permis d'identifier un mouvement philosophique, la philosophie psychophysiologique victorienne. Les auteurs étudiés sont les suivants : T.H. Huxley, Tyndall, Clifford, Maudsley, Bain, Carpenter, Lewes et Romanes"--Page 4 of cover. (shrink)

In the second half of the nineteenth century, in Great Britain, a group of scientists decided to challenge the intellectual authority of theologians and clergymen. Because of the recently discovere...

Cet article a déjà paru dans la Revue d'histoire des chemins de fer, n° 42-43, 2012, que nous remercions, ainsi qu'Hortense Soichet, de nous avoir gracieusement autorisé à le reproduire ici. Les évolutions techniques relatives aux modes de transport ont donné naissance à de nouvelles appréhensions possibles de la perception, conditionnées par le mouvement de la machine. Au sein d'un train, la vision est dépendante de la vitesse de déplacement et modifie le mode de perception des images grâce à (...) la (...) - Arts plastiques et autres – GALERIE – Nouvel article. (shrink)

On October 5th, 2017, the New York Times published an article that would establish the #MeToo movement and help millions of women across the globe to raise their voice and share their stories of sexual harassment, aggression and/or violence. If Harvey Weinstein was the main accused, he was, actually, the epitome of a systemic, as well as an endemic, issue that didn’t stop at the studios’ doors and was made possible thanks to a rather surprising and quite unexpected accomplice. In (...) fact, “Hollywood’s open secret” has been well-guarded by, among other things, the contract and its law. In the eyes of a contract law specialist, whether it be a man or a woman, the major highlight of Jodi Kantor and Megan Twohey’s article rests in their ability to have brought to light contracts—the, now, infamous and highly criticised “NDAs” (non-disclosure agreements)—that ensured Weinstein the freedom to buy his victims’ silence. The first goal of this essay is trying to understand, on the one hand, how could that be possible and, on the other hand, explain to a larger audience how a tool usually used for economic and commercial purposes could have been diverted from its traditional use. It also aims to present measures that have been adopted in the United States to fight these agreements, and imagine what could they be in a country such as France. Although these types of “NDAs” don’t seem to find their equivalent in the French public sphere, it is still helpful to ponder over remedies offered by the new French law of contract shall these contracts ever come to exist… or arise. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Eichmann, Empathy, and LolitaLeland de la DurantayeISometime in late 1960 or early 1961 Adolf Eichmann, jailed and awaiting trial in Jerusalem, was given by his guard a copy of Vladimir Nabokov's recently published Lolita, as Hannah Arendt puts it, "for relaxation." After two days Eichmann returned it, visibly indignant: "Quite an unwholesome book"—Das ist aber ein sehr unerfreuliches Buch—he told his guard. 1 Though we are not privy to, (...) and nor does Arendt speculate upon this officer's intentions, it is difficult to imagine that they were limited to procuring Eichmann a little "relaxation." The tale of a homicidal madman writing under observation and awaiting a trial that will consign him either to death or prolonged imprisonment—which fate spares him by felling him with a heart attack—could hardly have been very relaxing for someone at that moment writing his own memoirs and himself awaiting a trial with similar stakes.We might imagine other intentions on the part of Eichmann's guard. Could the gesture have been ironic? Or was it motivated by a dark curiosity—something of the order of an experiment? The sulphurous halo of Nabokov's book was still burning brightly in the popular consciousness of 1960. 2 Might Eichmann's guard have seen Lolita as a sort of litmus test for radical evil, and wanted to see whether the real-life villain—he who impassively organized the transport towards certain death of countless innocents—would coldly, even gleefully, approve the various and vile machinations of Nabokov's creation?This is all only speculation. In Arendt's account, she congratulates Eichmann for his indignation and moves on to other matters. In any event, given Eichmann's radical conventionality one could hardly imagine him liking—or even very well understanding—much of the book. As [End Page 311] Eichmann himself avowed, during his adult life he had read only two books, one of them being Theodor Herzl's The Jewish State. But whatever the motivations of Eichmann's guard, whatever Eichmann's degree of comprehension, and whatever congratulations Eichmann might have deserved for his disgust, the incident raises a question for the study of Nabokov's finest work which has yet to be answered.IIBefore turning to this question, let us remain with Arendt and her notorious reader for a moment. Arendt notes elsewhere that it appeared to her that Eichmann was nearly "aphasic." She comments that, "when he did succeed in constructing a sentence of his own, he repeated it until it became a cliché," and that, "his inability to speak was closely connected with an inability to think, namely, to think from the standpoint of somebody else." Arendt offers here nothing less than a definition of thought itself. "To think" is glossed ("... namely") by Arendt as, "to think from the standpoint of someone else." Though as a definition of thought, it is hardly impressive, it nevertheless expresses something essential about Arendt's conception of thought and thinking. (3) In her view, thought is to be placed under the sign of intellectual empathy, under the sign of living in the strangeness and wonder of another's world. (Though Arendt does not mention the connection, both the language she wrote Eichmann in—English—and her native one—German—make special provision for such a sense, as he or she who is "thoughtless" is not her or she who is incapable of some form of cognition or calculation, as "thoughtless" people can indeed be very clever and very clever people have been capable of great "thoughtlessness.")Thought is thus a communal, not individualistic, thing. 4 This point is important as, though Adolf Eichmann was unlikely to have seen much of himself in the irreverent and urbane genius of Nabokov's Humbert Humbert, nor in the latter's strange eloquence, Eichmann the man and Humbert the character of the first part of the novel (to leave the repenting Humbert of the book's last pages out for the moment), share an essential trait. What Eichmann the man shares with Nabokov's literary creation is the inability or unwillingness "to think from the standpoint of somebody else." The evil they share is the... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Eichmann, Empathy, and LolitaLeland de la DurantayeISometime in late 1960 or early 1961 Adolf Eichmann, jailed and awaiting trial in Jerusalem, was given by his guard a copy of Vladimir Nabokov's recently published Lolita, as Hannah Arendt puts it, "for relaxation." After two days Eichmann returned it, visibly indignant: "Quite an unwholesome book"—Das ist aber ein sehr unerfreuliches Buch—he told his guard. 1 Though we are not privy to, (...) and nor does Arendt speculate upon this officer's intentions, it is difficult to imagine that they were limited to procuring Eichmann a little "relaxation." The tale of a homicidal madman writing under observation and awaiting a trial that will consign him either to death or prolonged imprisonment—which fate spares him by felling him with a heart attack—could hardly have been very relaxing for someone at that moment writing his own memoirs and himself awaiting a trial with similar stakes.We might imagine other intentions on the part of Eichmann's guard. Could the gesture have been ironic? Or was it motivated by a dark curiosity—something of the order of an experiment? The sulphurous halo of Nabokov's book was still burning brightly in the popular consciousness of 1960. 2 Might Eichmann's guard have seen Lolita as a sort of litmus test for radical evil, and wanted to see whether the real-life villain—he who impassively organized the transport towards certain death of countless innocents—would coldly, even gleefully, approve the various and vile machinations of Nabokov's creation?This is all only speculation. In Arendt's account, she congratulates Eichmann for his indignation and moves on to other matters. In any event, given Eichmann's radical conventionality one could hardly imagine him liking—or even very well understanding—much of the book. As [End Page 311] Eichmann himself avowed, during his adult life he had read only two books, one of them being Theodor Herzl's The Jewish State. But whatever the motivations of Eichmann's guard, whatever Eichmann's degree of comprehension, and whatever congratulations Eichmann might have deserved for his disgust, the incident raises a question for the study of Nabokov's finest work which has yet to be answered.IIBefore turning to this question, let us remain with Arendt and her notorious reader for a moment. Arendt notes elsewhere that it appeared to her that Eichmann was nearly "aphasic." She comments that, "when he did succeed in constructing a sentence of his own, he repeated it until it became a cliché," and that, "his inability to speak was closely connected with an inability to think, namely, to think from the standpoint of somebody else." Arendt offers here nothing less than a definition of thought itself. "To think" is glossed ("... namely") by Arendt as, "to think from the standpoint of someone else." Though as a definition of thought, it is hardly impressive, it nevertheless expresses something essential about Arendt's conception of thought and thinking. (3) In her view, thought is to be placed under the sign of intellectual empathy, under the sign of living in the strangeness and wonder of another's world. (Though Arendt does not mention the connection, both the language she wrote Eichmann in—English—and her native one—German—make special provision for such a sense, as he or she who is "thoughtless" is not her or she who is incapable of some form of cognition or calculation, as "thoughtless" people can indeed be very clever and very clever people have been capable of great "thoughtlessness.")Thought is thus a communal, not individualistic, thing. 4 This point is important as, though Adolf Eichmann was unlikely to have seen much of himself in the irreverent and urbane genius of Nabokov's Humbert Humbert, nor in the latter's strange eloquence, Eichmann the man and Humbert the character of the first part of the novel (to leave the repenting Humbert of the book's last pages out for the moment), share an essential trait. What Eichmann the man shares with Nabokov's literary creation is the inability or unwillingness "to think from the standpoint of somebody else." The evil they share is the... (shrink)

“Perspective is much more than a secret technique for imitating a reality… It is the invention of a world dominated and possessed through and through.” These inimical words by Maurice Merleau-Ponty encapsulate a customary philosophical position, as explicit and implicit references to early modern culture by critical theorists and continental philosophers lead to an uninviting and even sinister picture. Because of its emphasis on the human eye, quantitative spatial relations, and the virtual incising of pictorial space via linear perspective, the (...) Renaissance was cast as a formidable villain in order to uphold modern artistic production. It is an accusatory characterization.. (shrink)

The range and types of performance metrics has recently proliferated in academic settings, with bibliometric indicators being particularly visible examples. One field that has traditionally been hospitable towards such indicators is biomedicine. Here the relative merits of bibliometrics are widely discussed, with debates often portraying them as heroes or villains. Despite a plethora of controversies, one of the most widely used indicators in this field is said to be the Journal Impact Factor. In this article we argue that much of (...) the current debates around researchers’ uses of the JIF in biomedicine can be classed as ‘folk theories’: explanatory accounts told among a community that seldom get systematically checked. Such accounts rarely disclose how knowledge production itself becomes more-or-less consolidated around the JIF. Using ethnographic materials from different research sites in Dutch University Medical Centers, this article sheds new empirical and theoretical light on how performance metrics variously shape biomedical research on the ‘shop floor.’ Our detailed analysis underscores a need for further research into the constitutive effects of evaluative metrics. (shrink)

ABSTRACT The Marquis de Sade’s Juliette—well-known as an outrageously murderous, hedonistic anti-heroine—captured the attention of some of the most influential philosophers of the twentieth century. Most of these engagements with Sade have received some critical attention. However, Foucault’s distinctive remarks on Juliette in The Order of Things have gone overlooked. I situate Foucault’s interpretation of Juliette alongside and against Adorno’s and Lacan’s: exploring his positioning of her as a liminal figure, situated in the Classical age on the cusp of modernity, (...) and his allusion to the way in which her “solitary—and endless” “prosperities” exceed our grasp. (shrink)

L'étude Partir-Revenir analyse les rythmes de l'habiter à travers l'absence domestique, ces moments où tout ou partie des habitants partent de chez eux pour le travail ou les loisirs, et qui influencent les manières dont ils investissent leurs maisons. L'absence à la croisée des rythmes de l'habiter et de la mobilité Menée par le sociologue Benjamin Pradel et la photographe Hortense Soichet, elle a bénéficié du soutien de Leroy Merlin Source et du Forum Vies Mobiles dans un partenariat articulant, (...) dans - Sociologie – Nouvel article. (shrink)

This article illuminates Henry Irving’s production of Shakespeare’s Cymbeline (1896) as a major contribution to fin-de-siècle Gothic culture. Cymbeline (1896) was one of the most popular Victorian Shakespeare productions, running to wild acclaim for more than seventy-two performances. In Cymbeline’s sexually-charged bedroom scene, Imogen, played by beloved Victorian actress Ellen Terry, was preyed upon by Henry Irving’s villainous Iachimo. Terry and Irving were at the zenith of a twenty-year partnership at London’s Lyceum theatre, and Victorian Britain’s greatest star actors. Ellen (...) Terry’s Imogen became an ideally desirable heroine for both audiences and critics of Victorian Shakespeare. Simultaneously, Cymbeline, and the acclaimed performances of Terry and Irving, became a source for literature’s most famous Gothic vampire novel: Dracula, published by Bram Stoker in 1897. Bram Stoker was Henry Irving’s business manager, and intimately involved with Irving and Terry’s professional lives at the Lyceum theatre. This article reveals the relationship between Shakespeare and Dracula, especially Ellen Terry’s Imogen as an inspiration for Lucy Westenra. Textual evidence includes Terry’s correspondence and unpublished promptbooks, as well as Stoker’s biography of Henry Irving, and facsimile notes on Dracula. Examining Cymbeline (1896) and Dracula (1897) offers a new reading of Dracula, given Cymbeline’s obsession with liminal states and female vulnerability. Moreover, Victorian responses to Ellen Terry’s Imogen in the bedchamber scene highlight fin-de-siècle eroticisations of the sleeping woman, and Victorian fantasies of sexual access to the actress. Examining Terry’s reception illuminates the disjunction between performed female passivity as Imogen, and the professional, creative activity that underlined Terry’s stage practice and agency as a Victorian actress. (shrink)

L'étude Partir-Revenir analyse les rythmes de l'habiter à travers l'absence domestique, ces moments où tout ou partie des habitants partent de chez eux pour le travail ou les loisirs, et qui influencent les manières dont ils investissent leurs maisons. L'absence à la croisée des rythmes de l'habiter et de la mobilité Menée par le sociologue Benjamin Pradel et la photographe Hortense Soichet, elle a bénéficié du soutien de Leroy Merlin Source et du Forum Vies Mobiles dans un partenariat articulant, (...) dans - Sociologie – Nouvel article. (shrink)

In his recent book Criticism and Social Change Frank Lentricchia melodramatically pits his critical hero Kenneth Burke, advocate of the intellect’s intervention in social life, against the villainous Paul de Man, “undisputed master in the United States of what is called deconstruction.” Lentricchia charges that “the insidious effect of [de Man’s] work is not the proliferating replication of his way of reading … but the paralysis of praxis itself: an effect that traditionalism, with its liberal view of the division of (...) culture and political power, should only applaud.”1 He goes on to prophesy thatThe deconstruction of deconstruction will reveal, against apparent intention, a tacit political agenda after all, one that can only embarrass deconstruction, particularly its younger proponents whose activist experiences within the socially wrenching upheavals of the 1960s and early 1970s will surely not permit them easily to relax, without guilt and self-hatred, into resignation and ivory tower despair. [CSC, p. 40]Such is Lentricchia’s strenuous conjuration of a historical moment in which he can forcefully intervene—a summons fraught with the pathos excited by any reference to the heady days of political enthusiasm during the war in Vietnam. Lentricchia ominously figures a scene of rueful solitude where de Manian lucidity breaks into the big chill. And maybe it will. But Lentricchia furnishes no good reason why it should. De Manian deconstruction is “deconstructed” by Lentricchia to reveal “against apparent intention, a tacit political agenda.” And this revelation is advertised as a sure embarrassment to the younger practitioners of deconstruction—sweepingly characterized as erstwhile political activists who have, wide-eyed, opted for a critical approach that magically entangles its proponents in the soul-destroying delights of rhetoric and reaction. Left unexamined in Lentricchia’s story, however, is the basis for the initial rapport between radicalism and deconstruction. Why should collegiate activists have turned into deconstructionsists? Is not that, in Lentricchia’s terms, the same question as asking why political activists should have turned to literary criticism at all? If we suppose this original turn to be intentional, how could the initiates of this critical approach ever be genuinely betrayed into embarrassment by time or by its herald, Frank Lentricchia? On the face of it, the traducement of a secret intention would be unlikely to come as a surprise, since deconstructing deconstruction is not only the enterprise of Marxist critics like Lentricchia but also of Jacques Derrida, archdeconstructor, who unashamedly identified the embarrassment of intention as constitutive of the deconstructive method. If deconstruction is at once a natural outlet for activists and the first step on a slippery slope that ends in apostasy , it suggests a phenomenon with contours more suggestively intricate, if not less diabolically seductive, than the program Lentricchia outlines. And it is a phenomenon as worrisomely affiliative as it is bafflingly intricate. We need to know whether the relations between deconstruction and radical politics, between deconstruction and apostasy between deconstruction and criticism, and between apostasy and criticism are necessary or contingent, or neither and both at once. 1. Frank Lentricchia, Criticism and Social Change , p. 38; all further references to this work, abbreviated CSC, will be included in the text. Jerome Christensen, professor of English at the Johns Hopkins University, is the author of Coleridge’s Blessed Machine of Language and the forthcoming Hume’s Practice: The Career of an Enlightenment Man of Letters. He is currently at work on a study of Byron and the issue of strong romanticism. (shrink)

The word “prolific” does not suffice when describing the work of Jacques Roubaud. Born in 1932, he is the author of numerous scholarly articles and a three-book series of mysteries with a female protagonist, Hortense. He has written other novels (Nous, les moins-que-rien, fils ainés de personne, multiroman [2006] and La Dernière balle perdue [1997]), books of poetry and children’s poetry, an anthology of troubadorian poetry, a collection of French sonnets from the sixteenth and seventeenth centuries, a philosophical treatise, (...) books on poetics (La vieillesse d’Alexandre [1978], Poésie, etcetera, ménage [1995]), as well as a seven-volume (and “six-branch”) “récit autobiographique,” which David Bellos has compared to .. (shrink)

En 1983, Cedric J. Robinson introduit sous le titre d’une « tradition radicale noire », l’idée d’une généalogie spécifiquement africaine de la lutte contre l’esclavagisme, le capitalisme et l’impérialisme, distincte du marxisme européen. La pensée « afropessimiste»s’inspire d’Hortense Spillers pour mesurer les conséquences de la soustraction des Noirs aux ordres de l’humanité et de la subjectivité politique, en une violence qui convertit les vies africaines en chair. Le poète et théoricien africain américain Fred Moten revisite aujourd’hui ces pensées en (...) inventant un « optimisme noir », qui entend faire valoir l’ambivalence et l’ambiguïté de la noirceur, soulignant ses potentialités particulières et désignant dans « la chair » une possibilité de formuler de nouvelles formes de vie. (shrink)

In this paper I explore some of the moral pros and cons of pardoning or granting amnesty to people who have committed or participated in serious crimes. I believe that we are pulled in two directions when faced with questions of clemency, pardoning, amnesty, especially when it comes to war criminals or people who are guilty of flagrant violations of human rights. Our everyday morality provides us with fairly strong intuitions when the culprits are "remorseless villains". Remorseless villains don't deserve (...) to be released from punishment. But pardoning or granting amnesty, especially to soldiers or people who acted under the laws of another regime, may be pragmatically vindicated, for prudential reasons and for the sake of making peace. Whether one regards it as justified may depend on the role one is in. The perspective of a judge will differ from that of a victim or the latter's representative, and both may be at odds with the point of view of a political leader.Retributivism is a theory of what justifies punishment. I summarize Kantian and recent formulations and consider the Wittgensteinian challenge that no theory is needed at all, or can be effective in countering competing intuitions. Wittgensteinian insistence on looking at particular cases and avoiding generalized doctrines inspires the discussion of a concrete example of amnesty granted to SS soldiers guilty of the destruction of the village of Oradour-sur-Glane. Der Beitrag untersucht einige der moralischen Argumente, die dafür bzw. dagegen sprechen, Menschen, die schwerwiegende Verbrechen begangen oder an ihnen teilgenommen haben, zu begnadigen oder ihnen eine Amnestie zu gewähren. Wer mit der Frage von Begnadigung, Amnestie oder Straferlaß konfrontiert wird, fühlt sich nicht selten hin- und hergerissen, insbesondere wenn es um Kriegsverbrecher geht oder um Personen, die sich schwerster Menschenrechtsverletzungen schuldig gemacht haben. Unsere Alltagsmoral liefert uns eine ziemlich deutliche Vorstellung davon, bei welchen Tätern es sich um "gewissenlose Schurken" handelt, die es nicht verdienen, von Strafe verschont zu bleiben. Andererseits läßt sich eine Begnadigung oder die Gewährung von Amnestie - gerade in Fällen von Soldaten oder von Menschen, die nach den Gesetzen eines anderen Regimes gehandelt haben - mit pragmatischen Überlegungen rechtfertigen, und zwar durchaus mit rationalen Argumenten oder mit dem Ziel, eine Befriedung zu erreichen. Ob man solche Überlegungen als begründet ansieht, kann von der jeweiligen Rolle abhängen, in der man sich befindet. Die Sichtweise eines Richters wird abweichen von der eines Opfers oder dessen Vertretern, während der Standpunkt eines führenden Politikers wiederum ein gänzlich anderer sein kann.Die Vergeltungstheorie ist eine Theorie, der es um die Rechtfertigung von Strafe geht. Der Beitrag faßt Kantische und jüngere Formulierungen der Theorie zusammen und erwägt darüber hinaus Wittgensteins kritische These, daß eine Straftheorie überflüssig oder zumindest nicht imstande ist, zwischen sich widersprechenden moralischen Intuitionen zu entscheiden. Besteht man in Anlehnung an Wittgenstein, unter Vermeidung von verallgemeinernden Grundsätzen, auf der Untersuchung von Einzelfällen, dann führt das zur Diskussion von Beispielen, etwa des Falles der SS-Soldaten, die der Zerstörung des Dorfes Oradour-sur-Glane schuldig waren und denen gleichwohl Straferlaß gewährt worden ist. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Sick with PassionAlfred LouchOpera: Desire, Disease, Death, by Linda and Michael Hutcheon; xvi & 294 pp. Lincoln: University of Nebraska Press, 1996, $40.00.IDriving east from the Auvergne you may chance upon La Chaise-Dieu, a charming village where a very acceptable cafe confronts the fortress-like Abbatiale de St Robert across the village square. The church itself is an imposing monument to the ephemeral glory of the Avignon Pope Clement VI, (...) but its most extraordinary feature is a fresco in the aisle to the left of the choir. Called the Danse Macabre, it depicts death as a sequence of skeletons, each of which beckons, pleads with, consoles, or compels its many victims—young and old, rich and poor, exalted or mean—toward their inevitable end. At times the skeleton’s posture is sinister and threatening, at others, as with children, it seems to turn away, as if to shield them from its fearful aspect. The skeletons seem to catch the movement of a single dancer as they select one partner after another, taking the life of each in a graceful though ghastly movement.The fresco depicts the Black Death—art inspired by disease and contagion. But even if you were as innocent of history as the typical American tourists you would confront in the fresco the undeniable image of death, and the caprice of its visitation, a thought contrasting strangely with the enduring granite of the church. Your experience may be enriched by history and lead you to moralize on the contrast [End Page 155] between the pomp and grandeur of the papal builder and the fresco’s depiction of the vanity of human wishes. But it would be a jarring note if some know-it-all in the company of viewers were to lecture for all to hear on the transmission and symptoms of pasteurella pestis. That is another story, and an interesting one, but not here and now.And so it is, if not so abrasively, with a recent book by Linda and Michael Hutcheon on desire, disease, and death in opera. They hope to shed new light, by combining literary analysis and the medical theory of disease and contagion, on the themes and purposes of opera, or certain operas anyway. Somehow the passages on mycobacterium tuberculosis, treponema pallidum, and vibrio cholerae, together with graphic descriptions of the symptoms caused by these micro-organisms, and an accompanying photograph of syphilitic gummæ seem intrusive, just as talk about the etiology and the pathology of the plague strikes a discordant note as we look upon the Danse Macabre in wonder and fear. The Hutcheons, a husband and wife team who practice, respectively, medicine and literary criticism, tell the reader they are opera lovers. I hope their affection is not prompted only by infection.But why shouldn’t medicine and its history be relevant to literary, artistic, or musical creation? Think here of a question Wittgenstein asks in Zettel (paragraph 610): “Why should there not be a psychological regularity to which no physiological regularity corresponds? If this upsets our concept of causality then it is high time it was upset.” He did not mean to say that it would not be surprising if someone talked and acted and looked like a person but turned out to have an empty skull. But he did mean surely that talk about human projects and emotions is complete as it stands; what is going on in the neurons and what busy microbes are doing are other stories. Literature is about human projects, the skill or clumsiness with which they are pursued, the responses to success and failure, achievement and frustration. Opera, which, ever since someone had the idea of putting story to song, raided literary invention for its subject matter, is the same. Heroes and villains may of course be expected to be vulnerable to the various vicissitudes of life. Diseases may lay them low, as well as passing trains. But disease enters their stories to delay or frustrate or put period to their projects, not as new characters on the stage. If you read about the death of Ivan Illych and come away dissatisfied because Tolstoy failed to identify the... (shrink)

The Reveries sur la nature primitive de l'homme are one of the important books of the dawn of the nineteenth century. In this text, Senancour limns an image of the world in accordance with the scientific thought of his time. It is a disenchanted image, dominated by mechanical necessity, and in it the distinction between good and evil no longer holds. God is absent; the world is not his creation. And Senancour expresses no regret:Everything in nature is indifferent, for everything (...) is necessary: all is beautiful, for all is determined. The individual is nothing, as a being apart: his cause and his end lie beyond him. Only the whole exists absolutely, invincibly, with no other cause, with no other end beyond itself, with no laws but those of its nature, with no other product than its permanence…. The beautiful, the true, the just, evil, and disorder exist only for the weakness of mortals…. The same earth contains happy orchards and ruinous volcanoes. The villain triumphs, the hero dies; the orchard withers, the volcano is snuffed out; one and the same destruction devours both the animate and the inanimate, shrouded in the same oblivion; and in a world reborn, there remains not a trace of what was abhorred or deified in a bygone world. (shrink)

Introduction: The quickened and the dead -- Ontology for philologists : Nietzsche, body, subject -- "Be your self!" : Nietzsche as educator -- The life of thought : Nietzsche's truth perspectivism and the will to power -- Of slaves and masters : the birth of good and evil -- Moments of excess : the making and unmaking of the subject -- Lacan, desire, and the originating function of loss -- The word that sees me : the nexus of image and (...) sign -- The nothing as the reverse side of Lacan's mirror -- Nietzsche is dead, long live Nietzsche : in memory of paternal ghosts -- The "insiders" : Nietzsche's secret teaching and the invention of "the philosopher of the future" -- Finding one's home in the nothingness of Nietzsche's text -- Nietzsche's excessive demand and the question of the adulterous queen's desire -- High and low : the hierarchical structure of Nietzsche's texts -- Inside and outside : Nietzsche "incorporated"; or, Who incorporates whom in the act of reading Nietzsche? -- The father's indulgence of the prodigal son : ambiguity and the limits of "the position" -- The contagion of affect in Netzsche : Klein, Krell, Bataille -- Doing time with Melanie Klein : renouncing "the bad breast," mourning the loss of "the good breast" -- "Motivating this writingéis a fear of going crazy" : how Klein might read Georges Bataille sur Nietzsche -- David Farrell Krell's "novel" approach to reading Nietzsche -- Family romances and textual encounters : Sarah Kofman reading Nietzsche -- Reading Nietzsche I : explosions -- Autobiography or autothanography : killing with words in Rue Ordener, Rue Labat -- Reading Nietzsche II : le pris des juifs; Nietzsche, les juifs, l'anti-semitisme -- The vision, the riddle, and the vicious circle : Pierre Klossowski's reading of Nietzsche's sick body -- On the continuity and disjunction between the body and language -- Exquisite delirium : the thought of eternal return -- The conspiracy of philosopher/villains : Nietzsche/Klossowski/Sade -- From cannibalism to voodoo : the creation and control of the subject of Nietzsche's writing. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Conquest and English Legal Identity in Renaissance IrelandBrian LockeyLike the Spanish administrators of the American territories, English administrators of Ireland attempted to impose their own native legal system on the Irish inhabitants. Nonetheless, important differences existed between the two kingdoms' legal approaches to their respective colonial contexts. Because Spanish jurisprudence was allied with universalist Catholic doctrine and was officially based on Justinian's Corpus Iuris Civilis (the ancient Roman legal (...) code which had close affinities to natural law discourse), Spanish administrators expected New World inhabitants to accept what they considered to be the "universal values" that were inherent in Spanish law.1 In contrast English common law had its roots not in natural law but in the peculiar customs of the English people. Thus, while the Spanish were able to claim that they were replacing unnatural Indian customs with a legal system rooted in universal natural law, the English were attempting to reform what they considered to be the unnatural practices of the Irish by imposing a legal system defined by its insularity and its peculiar affinity with English institutions.2 In this essay I show that Renaissance ethnographies on Ireland by such English administrators of Ireland as Edmund Spenser, Sir John Davies, and Fynes Moryson are fractured by a conflict between a commitment to natural-law theory, which had its origin in continental writings, and a corresponding commitment to the native English tradition of common law. I examine how works by Spenser, Davies, and Moryson dealt with this conflict within their collective project of articulating a legal justification and strategy for the pacification of Ireland. [End Page 543]Despite reports throughout Europe of Spanish-perpetrated cruelty throughout the Americas, the idea that war or conquest could be just or even charitable when prosecuted against oppression originated within the Catholic tradition of scholastic just-war theory.3 Many of the sixteenth-century writers who were writing about war and conquest in legal or ethical terms were Spanish or continental theologians who had attempted to evaluate Spanish imperial policy in the New World. On the one side were such figures as the Scottish theologian John Major and Spanish historian Juan Ginés de Sepúlveda, both of whom had justified Spanish conquest and treatment of the Indians using arguments based on the foundation of natural law.4 On the other side were those who had, on similar terms, voiced criticisms of the cruelties which Spanish forces were inflicting on the Indians. Francisco de Vitoria and Bartolomé de las Casas were certainly the most notable Spanish writers who favored more ethical treatment of New World inhabitants.5 Other prominent defenders of Indian rights were Domingo de Soto and Melchor Cano.6 Whether directly or through intermediaries, the ideas of many of these writers permeated the ideological fabric of England.Sir Fulke Greville's famous statement about Sir Philip Sidney's goal of fostering alliances with New World inhabitants in order to overthrow the Spanish authorities included an awareness of the "inhuman cruelties" of the Spanish forces, an awareness that probably originated in the English translation of Las Casas's Brevissima relación de la destrucyión de las Indias (1552).7 Beyond [End Page 544] this significant text, however, there were others. One important book that captured the ideas of the early Spanish debates on the ethics and justice of the New World conquests was Antonio de Guevara's Relox de príncipes (1529), a work twice translated into English during the sixteenth century.8 The third book of the Relox de príncipes, which treats the princely virtues of justice, peace, and magnificence, contains several sections that together constitute a polemic against violent imperialism and unjust conquest. In one notable episode Guevara employs the example of ancient Roman imperialism to produce a veiled critique of the injustices which Spain had committed against New World polities. A "villain of Danuby" from a German province newly conquered by Rome makes a speech to the Roman senate in which he criticizes the injustice of his Roman oppressors. The German villain characterizes the conquest of Germany in the following terms: "For I let you know, if you do not know it, that when... (shrink)

The list of Antoine-Laurent Lavoisier's opponents is a long and distinguished one, ranging from Joseph Priestley and Henry Cavendish to Jean-Paul Marat. Among the less distinguished members of this company is Antoine Monnet, a minor chemist and mineralogist whose fame rests in large part on the very fact that he and Lavoisier became enemies. Unlike his better-known contemporaries, Monnet remains almost wholly neglected, and no attempt has yet been made to sort out the issues in his controversy with Lavoisier; instead, (...) Lavoisier's biographers have been content to accept Lavoisier's own version of at least a part of the affair, with the result that Monnet has emerged as the villain of the piece and Lavoisier as the injured victim. The two men probably first came into close contact in 1776 or 1777, the nature of their relationship has remained obscure for the period 1777–1780, and the situation after 1780 has been summarized by biographers in a manner resembling that of Edouard Grimaux:“ayant en main tous les documents réunis par Guettard et Lavoisier, il [Monnet] ajouta de nouvelles cartes à celles qui étaient déjà gravées, et publia, en 1780, un altas minéralogique incomplet, qu'il signa avec Guettard, tout en s'attribuant la plus grande part du travail. Il cita, il est vrai, Lavoisier comme l'auteur des seize premières cartes, mais il utilisa sans son aveu et sans le nommer les matériaux préparés pour le reste du travail, et négligea d'indiquer que les coupes placées en marge de chaque carte étaient le résultat des nivellements faits au baromètre par Lavoisier. Celui-ci en fut vivement froissé … Il trouva toujours en Monnet un adversaire obstiné qui, en 1798, attaquait encore les doctrines nouvelles en publiant une soi-disant Démonstration de la fausseté des principes des nouveaux chimistes.”. (shrink)

Cic. Att. i. 16. 5. Nosti calvum ex Nanneianis ilium, ilium laudatorem meum, de cuius oratione erga me honorifica ad te scripseram. … In a recent article Dr. T.P.Wiseman has vigorously attacked the almost universally accepted view that the person to whom Cicero here alludes is Crassus, urging instead that the villain of the piece is C. Licinius Macer Calvus, and proposed νєανίαις for the manuscript reading Nanneianis with which he would, I imagine, be unhappy, as others have been before (...) him, even if he accepted the identification with Crassus. (shrink)

Cic. Att. i. 16. 5. Nosti calvum ex Nanneianis ilium, ilium laudatorem meum, de cuius oratione erga me honorifica ad te scripseram. …In a recent article Dr. T.P.Wiseman has vigorously attacked the almost universally accepted view that the person to whom Cicero here alludes is Crassus, urging instead that the villain of the piece is C. Licinius Macer Calvus, and proposed νєανίαις for the manuscript reading Nanneianis with which he would, I imagine, be unhappy, as others have been before him, (...) even if he accepted the identification with Crassus. (shrink)

O silêncio e a invisibilidade são as palavras que melhor representam a história da mulher no decorrer de muitos séculos. Desde a antiguidade, as mulheres foram impedidas de falar, e até nos dias atuais, infelizmente, pouco se valoriza o discurso feminino. Em diversas sociedades, o direito a expressar-se é severamente combatido, punido com rigor. A essas mulheres, vilipendiadas em seus direitos, resta um único espaço: o da subalternidade. Nesse contexto de subalternidade, habitando o espaço prisional marginal, fazer uso da palavra (...) e apropriar-se do direito à fala é um ato de coragem e de rebeldia. O presente artigo analisa o testemunho de uma mulher em situação de prisão que, até chegar ali, teve quase todos os seus direitos humanos profanados. A narrativa destaca suas experiências e traz à luz suas memórias e a maneira como dialoga com o passado. A partir da cela da prisão, a mulher produz o seu discurso, elabora o seu balbucio, que embora abafado, ultrapassa as grades e os altos muros. É através do poder de sua voz que ela reivindica o direito à fala, o direito de recontar-se, de falar de si. Neste artigo, analisamos, sob a perspectiva dos Estudos Culturais, a história narrada por VB1, uma mulher negra que cumpre pena em regime fechado. A partir desta análise, propomos uma reflexão sobre o espaço prisional, o direito à fala e o papel da memória nesse processo. Teremos como referências teóricas as identidades culturais em tempos de pós-modernidade com Stuart Hall, as reflexões sobre memória individual e coletiva de Maurice Halbwachs, estudos acerca da subalternidade com Hugo Achugar e Gayatri Spivak, espaço fronteiriço e memórias subalternas com Edgar Nolasco, reflexões sobre o papel da mulher propostas por Michele Perrot, entre outros. Palavras-chave: Subalternidade. Memorialística. Prisão. (shrink)

Durante a formação, estudantes são constantemente expostos a estressores que, se persistentes, podem ocasionar a Síndrome de Burnout (SB). Considerando a importância dessa demanda, este estudo teve como objetivo identificar diferenças nas dimensões da SB em relação ao ano e turno em estudantes de Ps..

This article raises the issue of the foundation of ethics in the situation of the pluralism of modern and contemporary society. Then , two types of answers to these problems are analyzed: comunitarism as the identitary ethics of an 'ourselves', and contractualism as the ethics of the partners' interests, which present themselves as rival theories in opposition to the universalism of kantian morality. It is however shown , how Kant himself had already worked at different levels of human integration with (...) both models: that of social contract and that of ethical community, and had articulated them in his system. The universal principle of morality , on the other hand, places itself at the meta-level of the profound grammar of the ethos of communities and contracts . Finally, it is observed that Kant´s fundamental ethical texts have not explicitly dealt with the hermeneutical problem of moral judgment in contexts of action. However, some passages of the Grundlegung are analyzed, as well as the Second Part of the Critique of Practical Reason, in which we find precise indications on this issue. It is maintained, that the observed lack of treatment may be bridged by means of widening the scope of the doctrine of reflexive judgment of aesthetic taste of the Third Critique's first part, which appears relevant, not for the foundation of the principle of morality, but for its application, i.e., for moral life.Este artículo plantea el problema de la fundamentación de la ética en la situación del pluralismo de la sociedad moderna y contemporánea. Se analizan luego dos tipos de respuesta a este problema: el comunitarismo como la ética identitaria de un nosotros, y el contractualismo como la ética de los intereses de los socios, los cuales se presentan como teorías rivales frente al universalismo de la moralidad kantiana. Se muestra sin embargo cómo el propio Kant había trabajado ya en distintos planos de la integración humana con los dos modelos del contrato social y de la comunidad ética, y los había articulado en su sistema. El principio universal de la moralidad se ubica en cambio en el meta-nivel de la gramática profunda del ethos de las comunidades y de los contratos . Se observa finalmente que los textos éticos fundamentales de Kant no han tratado de manera explícita el problema hermenéutico del juicio moral en los contextos de acción. Se analizan no obstante algunos pasajes de la Grundlegung y la Segunda Parte de la Crítica de la Razón Práctica, en los que hay indicaciones precisas sobre este problema. Se sostiene que la observada laguna se puede sortear mediante la ampliación de los alcances de la doctrina del juicio reflexivo del gusto estético de la primera parte de la Tercera Crítica, la cual parece relevante, no para la fundación del principio de la moralidad, pero sí para su aplicación, es decir: para la vida moral. (shrink)

Este texto tem dois objetivos principais: apresentar o conceito de “lei natural” e aquilo que seria a sua expressão como “lei escrita” e, depois, reinterpretar este conceito a partir de uma perspectiva nietzschiana. Para alcançar este duplo objetivo urge, pois, em primeiro lugar, traçar, nas suas grandes linhas, as vicissitudes que atravessou a teoria da “lei natural” ao longo da tradição #losó#ca até a sua culminância naquelas correntes do direito natural, típicas dos tempos modernos. Convém também assinalar que este conceito (...) encerra no seu bojo, como derivações, as noções de necessidade, de #nalidade e providência. Eis por que, para interpretá-lo e criticá-lo, são utilizadas algumas intui- ções e análises de Nietzsche que, ao longo de sua obra, não cessa de se referir, direta ou indiretamente, a estas questões e, também, àquela de acaso. Não se trata, portanto, de simplesmente apresentar uma crítica de Nietzsche aos conceitos de “lei natural” e “lei escrita”, mas, principalmente, de examiná-los à luz de seu pensamento. (shrink)

In September 1931, a panel discussion was convened at Central Hall Westminsteron the subject of the ‘Evolution of the Universe’, at the centenary meeting of theBritish Association for the Advancement of Science. Center stage was what todo about the evolving universe being younger than the stars, evidently a paradoxin the relativistic study of the evolving universe, at the time. Here, we discusstwo diametrically opposed reactions to the paradox, which were each broadcastat the meeting by Lemaˆıtre and de Sitter, respectively. As (...) we argue, that bothcould be projected to the public as viable reflects an unsettled question at thefoundations of the then-nascent discipline: what is the role for considerationsof scale in relativistic cosmology? (shrink)

O objetivo deste artigo é refletir acerca da valorização dos cabelos crespos em crianças enquanto resistência estético-política a partir das relações entre os conceitos de infância, afrofuturismo, cabelo crespo e sankofa. O artigo se fundamenta epistemologicamente em algumas perspectivas teóricas interdisciplinares e afrocentradas; e a metodologia se baseou na observação participante em marchas e encontros de valorização da estética negra entre 2014 e 2019 em nove capitais do Brasil. Com base neste arcabouço teórico-metodológico, a infância foi situada como ponto de (...) partida para se pensar as relações étnico-raciais em diáspora, a fim de vislumbrar novas produções epistemológicas, estéticas e políticas que se distanciem das elaborações subjetivas coloniais. Abrindo caminhos e possibilidades, reconectar-se com o passado sustentado por memórias, histórias e estéticas da cultura africana é também ter a condição de alterar o futuro. Sendo assim, este pensamento pode conduzir à construção de possíveis roteiros para reparação social e convergência de práticas alicerçadas por valores e sentidos estéticos africanos. (shrink)

Neste artigo pretendemos discutir a noção de construção da mente consciente a partir da perspectiva de Antonio Damásio. Para isso, centraremos nossa análise em Self comes to Mind. Em um primeiro momento é necessário delimitarmos o conceito de consciência na visão de Damásio, visando, com isso, a evitarmos equivocidades, na medida em que há várias definições de consciência. Acreditamos que, para uma melhor compreensão acerca do surgimento da mente consciente, é necessário levarmos em consideração os processos evolutivos aos quais o (...) homem está sujeito. A consciência é, pois, fruto de um desenvolvimento evolutivo já bem estabelecido pela ciência. Compreender o desenvolvimento evolutivo do self se torna tarefa de suma importância, na medida em que Damásio estrutura sua compreensão de mente consciente a partir do papel desempenhado pelo self na tarefa de agregar conteúdos mentais. Para Damásio, a origem da mente está associada ao momento em que um processo do self é adicionado a um processo mental básico. Quando não ocorre um self na mente, esta mente não é propriamente consciente, o que significa dizer que é o self que garante consciência a uma mente. Isso quer dizer que precisaremos discutir de forma clara e distinta o conceito de self e seus estágios, para que finalmente possamos entender os passos delimitados por Damásio para discutir a construção da mente consciente. (shrink)

ATIVIDADE CURRICULAR EM COMUNIDADE E SOCIEDADE E OS POVOS TRADICIONAIS: EXPERIÊNCIA DE CAMPO DO CURSO DE DIREITO DA UNIVERSIDADE FEDERAL DA BAHIA.

Quelle est la tâche – plutôt que la contribution – de la philosophie à l’égard du langage? Dans cet article, il s’agit de revisiter la réponse de Paul Ricœur à cette question, à partir de son texte “Philosophie et langage.” Ricœur assigne à la philosophie la tâche de se réapproprier la triple médiation langagière: “chemin” du langage vers monde, “chemin” du langage vers le sujet et “chemin” du langage vers la communauté humaine. Partant de l’expérience concrète des sujets parlants, Ricœur (...) s’oppose à la clôture systémique présupposée par la conception structuraliste du langage, qui suspend la fonction de la référence dans la relation de signification. À partir d’une conception élargie de la référence – qui inclut la fonction poétique du langage –, le philosophe dégage de la notion de “monde du texte” la dimension ontologique constitutive du langage: dans sa fonction poétique, en effet, le langage révèle, selon lui, les possibilités multiples de notre mode d’existence. Nous montrons enfin que c’est à travers la notion d’attestation que Ricœur établit une connexion entre la réouverture de la triple médiation du langage et l’élaboration de cette nouvelle ontologie. (shrink)

[Ronald de Sousa] Taking literally the concept of emotional truth requires breaking the monopoly on truth of belief-like states. To this end, I look to perceptions for a model of non-propositional states that might be true or false, and to desires for a model of propositional attitudes the norm of which is other than the semantic satisfaction of their propositional object. Those models inspire a conception of generic truth, which can admit of degrees for analogue representations such as emotions; belief-like (...) states, by contrast, are digital representations. I argue that the gravest problem-objectivity-is not insurmountable. /// [Adam Morton ] It is accuracy rather than truth itself that is valuable. Emotional truth is a dubious though attractive notion, but emotional accuracy is much easier to make sense of. My approach to accuracy goes via an account of what makes a story accurate. Stories can be accurate but not true, and emotions can be accurate whether or not they are true. The capacity for emotional accuracy, for emotions that fit a person's situation, is an aspect of emotional intelligence, which is as important an aspect of rational human agency as the intelligent formation of beliefs and desires. (shrink)

O artigo apresenta resultados de uma pesquisa que busca conhecer saberes e práticas de estudantes indígenas e quilombolas em uma universidade brasileira por meio da análise de narrativas na perspectiva fenomenológica-hermenêutica. Dois aspectos centrais foram identificados em seus relatos: diferenças entre modelos vivenciados na educação básica e no ensino superior; preconceitos sofridos por serem quilombolas ou indígenas. As histórias dos/as estudantes remetem a situações vividas individualmente durante o processo de formação e/ou a situações que dizem respeito a um grupo, uma (...) etnia; revelam, ainda, que os contextos dos quais são oriundos/as têm sido alvo de descaso e desvalorização. (shrink)

Este artigo aborda o processo de legitimação da umbanda, uma religião afro-brasileira, presente hoje em todo Brasil e mesmo no exterior. Diferentes intérpretes apontam que essa religião surgiu no Sudeste brasileiro nas primeiras décadas do século XX. As práticas nominadas “macumba” e associadas aos negros podem ser pensadas como a origem da umbanda. O estigma do feitiço, atrelado às práticas religiosas afro-brasileiras desde o Brasil colônia, também foi a ela transposto. No intuito de afirmá-la como religião, alguns grupos buscaram uma (...) aproximação com o espiritismo kardecista, visando um certo “embranquecimento” de suas práticas e definindo-a como “genuinamente” brasileira. Outros grupos preferiram enaltecer sua herança africana. Este artigo focaliza, assim, as vias escolhidas por diferentes grupos, especialmente, na primeira metade do século XX, para afirmar como religião práticas antes consideradas feitiço. Para tanto, apresento uma leitura crítica da literatura que aborda a conformação da umbanda, bem como seu processo de legitimação enquanto religião. Além disso, analiso textos produzidos pelos próprios umbandistas. (shrink)